...Theresa Sims Samuel Fosso’s self-portrait as The Chief: He Who Sold Africa to the Colonists is one of the artist’s most iconic works. Shot in 1997, Fosso created this photograph just a few years after his rise to international fame, at a time when the larger discursive category of “contemporary...

...Isolde Brielmaier Copyright © 2004 Nka: Journal of Contemporary African Art 2004 when digital and web-based media DIGITAL AFRICA continue to flow across and expand...

...Rory Bester Copyright © 2008 Nka: Journal of Contemporary African Art 2008 AFRICA REMIX An Immigrant, to Be Looked at from the other Side of Reinforced Glass Rory Bester I n Distinction: A Social Critique of the Judgement...

...Joanna Grabski Copyright © 2008 Nka: Journal of Contemporary African Art 2008 THE DAK'ART BIENNALE EXHIBITING CONTEMPORARY ART AND GEOPOLITICS IN AFRICA Joanna Grabski ak'Art, Senegal's Biennial of Contempo• Framing...

..., blowing them up, and Husain Essop. On a personal level, let I SOUTH AFRICA continues to serve an ambiguous role: displacing them in frames within...

...Prita Meier During the summer of 2010 the cityscape of Berlin became an important site for contemplating the role and meaning of “Africa” in current exhibition-and art-making practices. Who Knows Tomorrow , a multivenue exhibition organized by the Nation-algalerie, moved beyond multicultural...

... consciousness ap- 1996 work from the title of the exhi- ner, scattering them throughout these pears: the low reliefs, such as Assorted bition is taken: When I Last Wrote to sections, certainly keeps the viewer Seeds II (1989), carved boldly into You about Africa. The full text contin- moving...

...Susan Vogel This thoughtful one-person exhibition by the art historian Yukiya Kawaguchi, in the ethnographic museum in Osaka, lands at the intersection of art and ethnology, Africa and internationalism. The exhibition is masterfully curated and beautifully installed, but the premise stated...

...Karen E. Milbourne The exhibition Earth Matters: Land as Material and Metaphor in the Arts of Africa opened at the National Museum of African Art and Enid A. Haupt Garden, Smithsonian Institution, on Earth Day (April 22) 2013 and has been extended through February 23, 2014. Curator Karen E...

...Sandra Klopper Copyright © 1996 Nka: Journal of Contemporary African Art 1996 THE POLITICS OF CULTURAL OWNERSHIP IN CONTEMPORARY SOUTH AFRICA riting in the early 1990s, Stuart Hall noted that subjects, their curators, have thrown into sharp focus the country's...

...Bill Wright Copyright © 1996 Nka: Journal of Contemporary African Art 1996 CONTEMPORARY ART OF AFRICA which plagues the communities eruption." In one of the only direct EDITED...

...Steve Pantazis This review is on the exhibition We Face Forward: Art from West Africa Today (June 2 – September 16, 2012), which took place in Manchester, United Kingdom, during the Olympic summer. In particular, it focuses on one venue, the Whitworth Art Gallery, where new works created...

... industry signals a newfound creative energy and prosperity, yet it also raises debate around such issues as Westernization, postcolonialism, race, gender equality and religion. Haute Africa focused on the work of photographers who are not interested in African fashion per se but who choose instead...

... experience in Ghana. Through an exploration of my specific process as an artist in conversation with Ghana’s complex history, I begin to examine the complex implications of sexuality in Ghana. Copyright © 2016 Nka: Journal of Contemporary African Art 2016 Ghana Africa black masculinity...

...- ists to look to African sculptural and decorative arts AMERICAN ART, AFRICA, for inspiration, as did their European modernist AND THE DIASPORA counterparts, was an important moment in dia- sporic symbolic...

...Mia L. Bagneris Unequivocal in his professed lack of interest in incorporating any sort of African influence into his work, Palmer Hayden once famously quipped: “I never had any desire to paint anything about Africa. I painted what Negroes, colored people, us Americans do … we’re a brand new race...

...Daniel Haxall In 1997 Kehinde Wiley made his first trip to Africa to meet his father, a Nigerian man he had never known. This journey resonated deeply with the artist, who returned several times and established a studio practice there. Wiley documented each visit through portraiture, creating...